Abstract
ABSTRACTDespite the alarm regarding the absence of an Italian ‘engaged’ cinema that might offer resistance to the manipulative conditioning of mass media, recent years have seen the production of an impressive array of documentaries that in their urgency remind us of the lesson of Neorealism. Utilizing Pier Paolo Pasolini's critique of a capitalist society that masked the necessary distinctions between progress and development, and through the lens of Joris Ivens' L'Italia non è un paese povero/Italy Is Not a Poor Country (1959), this article assesses the ways in which contemporary film-makers, Matteo Garrone, Vincenzo Marra, Stefano Missio and Daniele Vicari among others, enact a ‘creative treatment of actuality’ (Grierson) free of the rhetoric of ‘realism’.
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